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How to Compose Great Prose: Cicero, Dionysius of Halicarnassus and Stylistic Theory in Late-Republican and Augustan Rome Issue Date: 2019-10-23

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How to Compose Great Prose: Cicero, Dionysius of Halicarnassus and Stylistic Theory in Late-Republican and Augustan Rome Issue Date: 2019-10-23 Cover Page The following handle holds various files of this Leiden University dissertation: http://hdl.handle.net/1887/79945 Author: Ooms, S Title: How to compose great prose: Cicero, Dionysius of Halicarnassus and stylistic theory in Late-Republican and Augustan Rome Issue Date: 2019-10-23 OW TO OMPOSE REAT ROSE H C G P Cicero, Dionysius of Halicarnassus and Stylistic Theory in Late-Republican and Augustan Rome Proefschrift ter verkrijging van de graad van Doctor aan de Universiteit Leiden, op gezag van de Rector Magnificus prof. mr. C.J.J.M. Stolker, volgens besluit van het College voor Promoties te verdedigen op woensdag 23 oktober 2019 klokke 16.15 uur door Steven Ooms geboren te Breda in 1989 Promotor Prof. dr. I. Sluiter Co-promotor Dr. C.C. de Jonge Promotiecommissie Prof. dr. K. De Temmerman (Universiteit Gent) Dr. L. van Gils (Vrije Universiteit Amsterdam) Dr. C.H. Pieper Prof. dr. A.B. Wessels ISBN 978-94-6375-519-1. Printed by Ridderprint BV. Cover design by Elisa Calamita. This dissertation is part of the research project ‘Greek Criticism and Latin Literature: Classicism and Cultural Interaction in Late-Republican and Early-Imperial Rome’, funded through a Vidi grant by the Dutch Research Council (NWO), project number 276-30-009. voor MATHILDE Contents Preface ix Note on translations and conventions xi 1. General introduction: Cicero and Dionysius of Halicarnassus on prose style 1 1.1 The purpose of this study 1 1.2 Modern approaches to the stylistic theories of Cicero and Dionysius 4 1.3 Theories of style in Rome: four major themes 11 1.4 Latin stylistic theory: Cicero, Calvus and Rhetorica ad Herennium 13 1.5 Greek stylistic theory in Rome: Dionysius, Caecilius and Philodemus 20 1.6 Athens into Rome: the shared classicism of Cicero and Dionysius 29 1.7 The dialogue between Greek and Latin stylistic theory 36 2. Hero versus zero: Demosthenes and Hegesias as paradigms of good and bad style 43 2.1 Introduction 43 2.2 Demosthenes and Atticism, Hegesias and Asianism 46 2.3 How to compose great prose: Demosthenes as the canon of style 52 2.3.1 Demosthenes in Hellenistic scholarship 53 2.3.2 Cicero on Demosthenes’ style 56 2.3.3 Dionysius on Demosthenes’ style 61 2.3.4 Summary: the three principal stylistic virtues of Demosthenes 69 v CONTENTS 2.4 How not to compose great prose: Hegesias as the prototype of degeneracy 70 2.4.1 Agatharchides of Cnidus on Hegesias’ style 71 2.4.2 Cicero on Hegesias’ style 78 2.4.3 Dionysius on Hegesias’ style 86 2.4.4 Summary: the three principal stylistic vices of Hegesias 94 2.5 Conclusion 95 3. The plain, the grand and the in-between: The doctrine of three styles as a versatile critical tool 97 3.1 Introduction 97 3.2 Versatile systems of three styles 104 3.2.1 Malleable dichotomies: the stylistic extremes 106 3.2.2 The flexibility of the middle style 112 3.3 Classicism and the three styles 115 3.4 Cicero against the so-called Attici 122 3.5 Dionysius and the aesthetics of the middle 129 3.6 Greek and Roman audiences: the three styles in action 139 3.7 Conclusion 145 4. Offending the ears: Greek and Latin views on rough word arrangement 147 4.1 Introduction 147 4.2 Word arrangement: a Greek discipline in Rome 153 4.3 The universal law of arrangement and the judgment of the ear 161 4.4 Disrupting the natural order: sources for roughness 168 vi CONTENTS 4.5 Echoing greatness: the virtues of roughness in Greek and Latin prose 175 4.5.1 Simplicity and sincerity 176 4.5.2 Grandeur and sublimity 181 4.5.3 Archaism and the patina of antiquity 186 4.6 Conclusion 192 5. To be Attic or not to be Attic: The fluidity of Atticism in oratory, politics and life 195 5.1 Introduction 195 5.2 Atticism in modern scholarship 197 5.3 Attic style and the Athenian cultural repertoire 203 5.4 Atticism personified: the various Attic muses of Rome 211 5.5 The politics of stylistic theory: Cicero and Dionysius on Attic style 216 5.5.1 Cicero’s sublime oratory and the battle for the republic 217 5.5.2 Dionysius’ middle style and the rule of Augustus 223 5.6 Calvus’ Atticism: challenging Rome’s rhetorical and political elites 231 5.6.1 Calvus against the rhetorical status quo 232 5.6.2 Calvus against public and private effeminacy 242 5.7 Conclusion 246 6. General conclusion 249 Bibliography 255 Samenvatting (in Dutch) 285 Curriculum vitae (in Dutch) 294 vii Preface The power of words can hardly be overstated: who among us has not been inspired or devastated, excited or consoled, moved to tears or otherwise touched by a felicitous phrase? It is no wonder, then, that verbal proficiency is a much sought-after commodity today: novelists strive to write sentences that take your breath away, politicians hunt for one-liners to knock out their opponents, and internet users dream of tweeting a post that conquers the online community. Although the quest for great prose is highly topical, I propose that it should start in Antiquity. Even after thousands of years, the Greek and Latin classics do not cease to engross billions of readers worldwide: by the sheer magnitude and longevity of their success, these age-old masterpieces offer essential clues to attaining enduring literary fame. Therefore, I do not regret spending more than five years on two of the most renowned ancient experts on verbal excellence, the Roman superstar Cicero and the versatile Greek scholar Dionysius of Halicarnassus. This dissertation reports what they have to say about the issue that continues to fascinate me—how to compose great prose. My research was funded through a Vidi grant by the Dutch Research Council (NWO). Since I started working on this project in February 2014, I have benefited from the convivial and stimulating atmosphere of the Leiden University Centre for the Arts in Society (LUCAS): I am referring particularly to the companionship and talent of my fellow PhD students, and to the kindness and expertise of my colleagues in the Classics Department. Professor Ineke Sluiter and dr. Casper de Jonge have on many occasions read and corrected my less-than-great prose: their prudent counsel and unwavering support have kept me on track despite my tendency to get derailed. I am also indebted to the National Research School in Classical Studies (OIKOS) for allowing me to pitch my preliminary findings to various (inter)national audiences in the Netherlands and in Athens, at the very foot of the Acropolis. In addition, I warmly thank my colleagues at the Erasmiaans Gymnasium in Rotterdam, who offered me a genial home for the final stages of my research. As for my students, I can only hope that I will some day be able to repay them for everything that they have taught me. Writing a doctoral thesis comes with its own trials and triumphs: I count myself lucky that I faced the former and celebrated the latter together with my friends and family. I am deeply grateful to Marianne Schippers, who has constantly cheered me up and spurred me on, and to my amigos Shane Kolenbrander and Vincent Oort, whose laconian wit has helped me in many ways. I also wholeheartedly thank my stepfather Willem van Heusden, my brothers ix PREFACE Mark and Jeroen, my grandfather Piet and my late grandmother Corrie for their comforting presence and patience. Lastly, I owe an enormous debt of gratitude to my mother and my wife. My mother Wilma Lambregts has been my rock for over thirty years: if I have achieved anything at all, it is because of the loving confidence that she has always placed in me. My wife Jennifer Snellink is both my better half and my best friend: God only knows what I’d be without her. She corrected countless mistakes in an earlier draft of this dissertation; the remaining errors (both in print and in life) are all mine. It is my contention that the importance of well-chosen and well-ordered words is timeless: eloquence was a paramount issue in Antiquity, it still is in our day and it will remain so in the future. On that note, I think of my daughter Mathilde, who was born in January this year: up to now she has only emitted inarticulate gibberish, but soon she will be forming actual words, on her way to compose her own great prose. In accordance with the ancient wisdom of Cicero and Dionysius, I hope that she will find a voice that highlights her virtues, that suits her talents, and that helps her achieve all of her ambitions, whatever they may be. Therefore, sweet, babbling Mathilde, I dedicate this book to you. Voorschoten Summer 2019 x Note on Translations and Conventions 1. When translators are not mentioned by name, translations are drawn (and often adapted) from the Loeb series. For Agatharchides’ On the Red Sea , I have used Burstein (1989). 2. Abbreviations for modern works of reference as well as ancient authors and their works are generally borrowed from The Oxford Classical Dictionary (OCD , fourth edition), and otherwise from A Greek-English Lexicon (LSJ, ninth revised edition) or The Oxford Latin Dictionary (OLD , second edition). 3. For Dionysius’ works, the following abbreviations are used: Latin English Amm. I Epistula ad Ammaeum I First Letter to Ammaeus Amm. II Epistula ad Ammaeum II Second Letter to Ammaeus Ant.
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